EVB3 User Manual

evb3
Software Instruments
>> Version 1, September 2002
>> English Edition
User Manual
H
License Agreement
Important! Please read this licence agreement carefully before opening
the disk seal! Opening of the disk seal and use of this package indicates
your agreement to the following terms and conditions. Emagic grants you
a non-exclusive, non-transferable license to use the software in this
package.
You may:
1. use the software on a single machine.
2. make one copy of the software solely for back-up purposes.
You may not:
1. make copies of the user manual or the software except as expressly
provided for in this agreement.
2. make alterations or modifications to the software or any copy, or
otherwise attempt to discover the source code of the software.
3. sub-license, lease, lend, rent or grant other rights in all or any copy to
others.
Except to the extent prohibited by applicable law, all implied warranties
made by Emagic in connection with this manual and software are limited
in duration to the minimum statutory guarantee period in your state or
country from the date of original purchase, and no warranties, whether
express or implied, shall apply to this product after said period. This
warranty is not transferable-it applies only to the original purchaser of the
software. Emagic makes no warranty, either express or implied, with
respect to this software, its quality, performance, merchantability or
fitness for a particular purpose. As a result, this software is sold “as is”,
and you, the purchaser, are assuming the entire risk as to quality and
performance. In no event will Emagic be liable for any direct or indirect
damages resulting from any defect in the software or documentation.
This agreement will terminate if you fail to comply with any term or condition in this agreement.
This agreement shall be governed by the laws of the Federal Republic of
Germany.
This manual, copy-protection and software described herein are copyrighted © 2002 by Emagic Soft- und Hardware GmbH, Halstenbeker Weg
96, 25462 Rellingen, Germany
H
Table of Contents
1
Welcome … . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
2
Getting Started
2.1
What the Package Includes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
2.2
Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
2.2.1
2.2.2
2.2.3
2.2.4
2.3
Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
EVB 3 Authorization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The “Instrument” Object Type . . . . . . . . . . . . . . . . . . . . . . . . . .
Loading and Playing an EVB 3 Instrument . . . . . . . . . . . . . . . . . .
12
12
13
14
Authorization & Registration . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
2.3.1
2.3.2
2.3.3
2.3.4
2.3.5
2.3.6
2.4
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Authorization . . . . . . . . .
Registering Online . . . . . .
Registering by Mail . . . . .
XS Key Status Messages . .
Optimization Programs . .
Formatting the Hard Disk .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
16
17
18
18
19
19
Overview and Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
2.4.1
2.4.2
2.4.3
2.4.4
The Plug-in Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Recommended MIDI Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transposition (Octave Range) . . . . . . . . . . . . . . . . . . . . . . . . . . .
MIDI Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
23
26
27
3
The EVB 3 Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
3.1
Drawbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
3.1.1
3.2
Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
3.2.1
3.2.2
3.3
Pedal Drawbars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Relative Volumes—Upper/Lower/Pedal . . . . . . . . . . . . . . . . . . . . 30
Volume Control and Expression Pedal . . . . . . . . . . . . . . . . . . . . . 30
Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
User Manual
Version 1
5
Table of Contents
3.4
Scanner Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
3.5
Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
3.6
Preset Keys and Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
3.6.1
3.7
Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
3.7.1
3.7.2
3.7.3
3.7.4
3.7.5
3.8
Max Wheels .
Tonal Balance
Shape . . . . . .
Bass Filter . . .
Ultra Bass . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
36
36
36
37
37
Condition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
3.8.1
3.8.2
3.8.3
3.8.4
3.8.5
3.9
Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Drawbar Leak
Leakage . . . .
Crosstalk . . . .
Random FM. .
Filter Age . . .
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
38
38
38
38
39
Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
3.10 Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
3.10.1 Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
3.10.2 Warmth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
3.10.3 Pitch Bender, Brake Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
3.11 Sustain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
3.12 Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3.12.1
3.12.2
3.12.3
3.12.4
3.12.5
3.12.6
6
Effect Chain and Effects Bypass
Equalizer . . . . . . . . . . . . . . . . .
Reverb. . . . . . . . . . . . . . . . . . .
Wah . . . . . . . . . . . . . . . . . . . .
Distortion . . . . . . . . . . . . . . . .
Rotor Cabinet . . . . . . . . . . . . .
Emagic
EVD 6
.........................
.........................
.........................
.........................
.........................
.........................
43
44
45
45
47
48
Table of Contents
H
4
Separate Effect Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
4.1
Scanner Vibrato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
4.2
Rotor Cabinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
4.3
Distortion II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
5
Additive Synthesis with Drawbars . . . . . . . . . . . . . . . 56
5.1
Residual Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
6
A Short Hammond Organ Story . . . . . . . . . . . . . . . . . . 59
6.1
Tonewheel Sound Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
6.2
The Leslie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
7
Further Information
8
MIDI Controller Assignments . . . . . . . . . . . . . . . . . . . . . 64
9
Factory Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
User Manual
Version 1
7
73
Table of Contents
8
Emagic
EVD 6
1
Welcome …
H
1 Welcome…
An electro-mechanical Hammond™ organ, with tonewheels
and its Leslie™ sound cabinet, cannot be replaced by anything
other than an electro-mechanical Hammond organ, with tonewheels and a Leslie sound cabinet! Having said that: With the
Emagic Vintage B3, you’ve purchased a truly portable alternative to this classic pop, rock and jazz instrument.
Product and manufacturer’s names used in this manual are licensed
and protected by law. Emagic, Logic, Logic Audio and EVB3 are trademarks of Emagic Soft- und Hardware GmbH. All other product
names, trademarks, and artists’ names are the property of their
respective owners, which are in no way associated or affiliated with
Emagic. Product names, images, and artists’ names are used solely for
the purpose of identifying the specific products that were studied
during Emagic’s sound model development and describing certain
types of tones produced with Emagic’s digital modeling technology.
Use of these products, images, trademarks, and artists’ names does
not imply any cooperation or endorsement.
The EVB3 software instrument mimics the sound, and use, of
the Hammond B3 and Leslie sound cabinet. Being a software
instrument, the EVB3 is not only lighter and more portable
than its big, heavy counterpart, it’s also much easier to integrate
into Logic’s production environment. There’s no need for any
cabling or microphone setup, for live-performances. The same
applies to the recording of realistic organ tracks, with the added
bonus of editability at any stage of production.
The EVB3 simulates an organ with two manuals (keyboards)
and a pedalboard—each of which can have its own registration
(sound settings). The sound generation process is not limited to
mere additive synthesis of sine choirs. Rather, it fully simulates
the tone wheel generators of an electro-mechanical Hammond
organ, down to the smallest detail. This includes certain
User Manual
Version 1
9
1
Welcome …
“charming” flaws, such as the Hammond’s enormous level of
crosstalk and the “scratchiness” of the key contacts. You may
adjust the intensity of these “peculiarities” to meet your tastes.
This flexibility allows for flawlessly clean, through to dirty and
raunchy sounds, and everything in-between. Further quirks of
the original were the “robbing” of sine choir voices (multiplexing) and the specific repetition behaviour. No need to tell
you that the EVB3 emulates this too!
The EVB3 simulates three different types of Leslie sound
cabinets with rotating speakers, with and without deflectors.
Beyond this, three tube overdrives—with different tonal characteristics, an equalizer, a wah wah and a reverberation effect
are also incorporated. You may freely define the signal flow of
these effects as you wish. You can also set the stereo intensity of
the microphone position as desired.
If you’re familiar with the original B3, you’ll remember the
inverted (black) keys of the lowest octave, on each manual.
These inverted keys are switches that recall preset registrations
(a preset of your drawbar settings). This feature is emulated by
the EVB3 as well, but has been improved significantly, given
that you won’t need a screwdriver to change the registration
settings of your presets. A morphing feature allows seamless
crossfades between two registrations, without the need for an
external fader box. The EVB3 can be played with two manuals
and a MIDI pedalboard, if you wish (and own these devices). It
also offers functions which allow you to play all registers
(Upper, Lower and Pedal) with a single-manual master
keyboard.
The Scanner Vibrato, Rotor and Tube Distortion effects are
also available in standalone plug-in form, allowing them to be
used as Insert or Bus effects on other Logic tracks.
We wish you a great deal of fun and success with your new
organ!
Your EMAGIC Team
10
Emagic
EVB 3
2
Getting Started
H
2 Getting Started
2.1
What the Package Includes
Your EVB3 package contains the following components:
•
•
•
•
the Emagic Software CD
this manual
a registration card
a card containing two stickers
Please complete the registration card as soon as possible and
send it to the Emagic distributor in your country or territory.
Upon registration you will receive the permanent license code
for your EVB3.
Once registered, you will have access to…
•
a regular update and support service via the Internet:
http://www.emagic.de
•
support via our Hotline:
in the USA phone 1-530-477 1050, fax 1-530-477 1052
in Germany phone +49-4101-495-110
in other countries: please consult the Emagic distributor in
your country or territory.
User Manual
Version 1
11
2
Getting Started
2.2
Quick Start
2.2.1
Installation
Although the EVB3 is integrated into Logic’s program code
(version 5.3 or higher), we recommend that you run the Setup/
Installation procedure by:
•
•
•
•
Inserting the EVB3 CD-ROM into your computer’s CDROM/DVD drive.
This should automatically launch a window on your desktop.
Double-click on the Installation icon, and follow the
onscreen instructions.
If no window is launched, use your operating system’s file
management utilities, and browse to the root folder of the
CD-ROM drive.
The installer will check your Logic version, and will update or
replace any files needed for the operation of the EVB3.
It is important that you always run the latest version of your Emagic
software, as it may contain new features or fixes that affect your
system’s performance.
2.2.2
EVB3 Authorization
Your new plug-in is integrated into the Logic software. To make
use of it, an installed copy of Logic Platinum, Gold, Audio
(formerly Silver) or MicroLogic AV 5 (or higher) is required.
Rather than installing your new plug-in, you simply need to
input an alphanumerical code into Logic. This code authorizes
the EVB3, and writes this information to the XSKey. You will
find this code on the barcode sticker in the sealed envelope.
12
The envelope is sealed. The act of opening the envelope indicates
your agreement with, and acceptance of, Emagic’s licensing conditions and terms of trade.
Emagic
EVB 3
2
Getting Started
H
How authorization works:
•
•
•
Boot Logic
Open the XSKey Authorization window by selecting Help >
XSKey Authorization (Windows) or  > XSKey Authorization
(Mac OS).
Click once on the Enter Access Code Here! field, and type in
the supplied code.
After entry, your EVB3 will be temporarily authorized: You may
use it for a period of 12 weeks, with no functional restrictions.
Please see the Authorization & Registration section, on page 16, for
information on “unlimited” registration.
2.2.3
The “Instrument” Object Type
In Logic’s Track-Mixer (or Audio Environment Layer in Logic
Audio, Gold and Platinum), there is an audio object type called
an “Audio Instrument”. Audio Instrument channels appear as
channel strips in the Environment’s Audio layer and Track
Mixer window. These objects allow software instrument plugins to be inserted into their Instrument-Insert-slot, as shown in
the diagram.
Note that the use of the insert slot is different to the use of the top
Insert slot of the Instrument channels in 4.x and earlier 5.x Logic
versions. This change in operation was introduced in version 5.2, as
one of several audio engine enhancements, which add to Logic’s
mixing functionality.
The default song—the song that opens automatically if you
move your Autoload song out of the Logic folder—features a
number of pre-configured Instrument channels.
An Instrument channel is an audio object (or an Audio Track in
MicroLogic AV), with its Cha parameter switched to one of the
Instruments (the number of Instrument channels varies, dependent on the Logic version in use). Any audio object can be
switched to operate as an Instrument, by changing this paramUser Manual
Version 1
13
2
Getting Started
eter (Cha) in the object’s parameter box. You can not insert the
EVB3 plug-in into an audio object—created by selecting New >
Audio Object—until its Cha parameter is set to an Instrument
channel.
To create a new Instrument in MicroLogic AV, simply select
Track > Create Instrument.
2.2.4
Loading and Playing an EVB3
Instrument
The EVB3 comes with a library of ready-to-play preset sounds,
known as “Settings”. These Settings can be found in the Logic
> Plug-In Settings > EVB3 sub-folder, following the installation
procedure. Please follow these steps in order to audition the
EVB3 settings:
•
Start Logic (or MicroLogic AV), and open the Track Mixer or
Environment Mixer.
•
•
Select or create a new Instrument object (see above).
14
Select the EVB3 from the hierarchal list of plug-ins, which
appears after click-holding on the Insert slot of the Instrument channel. This will automatically launch the EVB3
plug-in window.
Emagic
EVB 3
2
Getting Started
•
Launch the Arrange window, if not already open, via the
Windows menu, an appropriate Screenset number, or Key
Command.
•
Select the corresponding Instrument channel—i. e. the one
with the EVB3 inserted—in the Arrange Window’s Track
List. This enables the object to receive MIDI data from your
keyboard.
•
•
The EVB3 is now ready to play.
H
You may select any of the EVB3 “Settings” (preset sounds/
patches) by click-holding on the flip menu (the downwards
pointing triangle, to the right of the Bypass button) in the
silver/gray panel area of the plug-in window.
•
In addition, Settings can be selected by using the key
commands Previous/Next Setting. In Logic Gold and Logic
Platinum, Previous/Next Setting can be assigned to practically any MIDI message like Control Changes or Program
Change commands.
•
Should you close the plug-in window, you can relaunch it by
opening the Track Mixer or Environment Mixer, and
double-clicking on the Insert panel of the appropriate Instrument channel.
User Manual
Version 1
15
2
Getting Started
2.3
Authorization & Registration
2.3.1
Authorization
The EVB3 is authorized via a convenient software protection
system known as the XSKey.
Rather than installing your new plug-in, you simply need to
input an alphanumerical code into Logic. This code authorizes
the new plug-in on the XSKey (Expandable System Key). You
will find this code on the barcode sticker, in the sealed envelope.
The envelope is sealed. The act of opening the envelope indicates
your agreement with, and acceptance of, our licensing conditions and
terms of trade.
How authorization works:
•
Open the XSKey Authorization window by selecting Help >
(Windows) or  > XSKey Authorization
(Mac OS). The window indicates the authorization status for
all available software instruments, and add-on modules. The
authorization code for each is stored in the XSKey. Please
take good care of your XSKey!
XSKey Authorization
•
16
This window also shows the serial number of your XSKey.
All codes, for all products, are typed into the “Enter Access
Code Here!” field. Click once on the field to enter a code.
Emagic
EVB 3
2
Getting Started
•
•
•
•
•
H
Please type the appropriate code into this field. You will find
this code on the barcode sticker, in the sealed envelope.
After entry, your plug-in will be temporarily authorized: You
may use it for a period of 12 weeks, with no functional
restrictions.
If you do not register your new plug-in within this 12 week
period, it will stop working.
So please register now!
You have two ways of registering—either online or by mail.
The online registration method is preferable, as it is more
convenient and faster. Details on both procedures follow.
After registration, you will receive a further authorization
code, for unlimited use of the plug-in. This “unlimited use”
authorization code must also be entered in the XSKey Authorization window. Thereafter, you will have unlimited use of
your plug-in.
2.3.2
Registering Online
If you have Internet access, please register the plug-in online.
This is the simplest and fastest method. Keep the envelope
with the barcode sticker (and the serial number of your XSKey)
handy. You can find the XSKey serial number on the barcode
stickers that came with your Logic 5 version, and under Help >
XSKey Authorization (Windows) or  > XSKey Authorization
(Mac OS).
Start your web browser and navigate to:
www.emagic.de/registration
•
•
•
Input the requested data.
A successful online registration will be indicated via e-mail
immediately.
After a short processing period, you will receive your authorization code for unlimited use via e-mail.
This “unlimited use” authorization code must also be entered
in the XSKey Authorization window. Thereafter, you will have
unlimited use of your plug-in.
User Manual
Version 1
17
2
Getting Started
2.3.3
Registering by Mail
If you don’t have Internet access, you may register by mail. To
do so, please fill out the registration card attached to/enclosed
in the envelope.
•
•
•
•
Please fill out the card completely.
Attach one of the XSKey serial number stickers (as supplied
with your Logic 5 package) onto the appropriate panel.
Detach the Plug-In Registration Card from the envelope.
Send this card back to the Emagic distributor in your country
or territory, using the supplied return envelope.
Please allow a period of 10 to 14 working days for the
processing of your card. You will receive the authorization
code for unlimited use by mail. The online registration
method is preferable, and more convenient.
This “unlimited use” authorization code must also be entered
in the XSKey Authorization window. Thereafter, you will have
unlimited use of your plug-in.
2.3.4
XS Key Status Messages
The following describes the messages you may see in the
XSKey Authorization window.
authorized:
The module is purchased, it is registered with Emagic, and the
code for permanent authorization has been entered. The
module is ready for “unlimited” use.
(Demo) expiring in … days:
This module is fully functional for the specified number of
days. Purchase, and registration with Emagic, will provide you
with a code to permanently authorize the module. If no code is
supplied within the time period, the module will stop working
after the specified number of days has elapsed.
18
Emagic
EVB 3
2
Getting Started
H
It is recommended that you do not attempt to change the date of the
system clock during a limited authorization period, as this may reduce
the time before the module stops working.
activate Demo…:
The module is not active, but it is possible to enable its demo
mode. To do so, click once in the desired “Activate Demo …”
field. Please note that following its initial launch, the demo
mode for the module can not be stopped, and will continue to
count down! If a permanent license/authorization code is not
purchased within the demo period, use of the module will
expire.
(Demo) expired:
The limited authorization period is over. It is not possible to
use the module until a valid license code is entered.
empty field:
The module is not active, and no demo mode is available. The
only way to activate such modules is by entering a license code.
2.3.5
Optimization Programs
The EVB3’s copy protection (the XSKey) is not affected by
disk optimization and defragmenting programs. You may use
programs such as Norton Speed Disk, MS Defragmenter or
DiskExpressII as often as you like.
2.3.6
Formatting the Hard Disk
Hard disk formatting or partitioning does not affect the EVB3/
XSKey.
User Manual
Version 1
19
2
Getting Started
2.4
Overview and Integration
2.4.1
The Plug-in Window
Hands-on operation of the EVB3 is performed in the plug-in
window. The plug-in window can be accessed by simply
inserting the EVB3 into the Input slot of an Instrument
channel. If already inserted, double-clicking on the blue EVB3
label (on the Input slot of an Instrument channel) will open the
plug-in window. When launched, the plug-in window allows
access to all EVB3 parameters. Every instance of the EVB3 has
its own plug-in window, allowing discrete settings for each.
The parameters described in the following chapters are easier
to manipulate from within the Editor view of the plug-in
window. If you can only see multiple horizontal sliders on a
blue background, please switch from the Controls view to the
Editor view, using the flip menu found in the upper portion of
the plug-in window.
Common Plug-in Window Parameters
Common to all of the EVB3 and other Logic plug-ins is the gray
area shown at the top of the plug-in window.
Link
If the Link button is switched off, you can open several plug-in
windows simultaneously.
If the Link button is switched on (default), a single plug-in
window will be used to display all opened plug-ins.
Each time you launch a new plug-in, the window will update to
reflect the new selection. You can easily and conveniently
switch between active plug-ins, without relaunching the plugin window. Please see the Switching the Contents of the Plug-in
Window section, on page 22.
20
Emagic
EVB 3
2
Getting Started
H
Bypass
The Bypass button disables the EVB3—e.g. to temporarily test
other settings.
Saving and Selecting Settings
Complete registrations—all parameters of the EVB3—are
saved as a Setting in the plug-in window. Every plug-in available
for use in your version of Logic allows the storage and recall of
such parameter changes.
Settings for the EVB3 are saved in, and recalled from, the corresponding EVB3 Plug-In Settings folder.
Save Setting
•
•
To save a Setting after making parameter changes, click on
the Settings flip menu, and select Save Setting or Save As…
Setting.
In the ensuing file save dialog, type in the desired name,
then click the Save or OK button. This will automatically
save the Setting in the appropriate folder.
It is strongly recommended that you do not attempt to change the
Plug-in Settings > EVB3 folder structure. Within the EVB3 folder you
are, however, free to sort your settings into sub folders. This folder
structure is reflected in a hierarchical menu, shown each time you
load a plug-in setting.
As with all other plug-ins in Logic, the EVB3 parameter changes are
also saved with the song. When the song is re-opened, all stored
parameter changes will be recalled.
Load Setting
•
•
To load an EVB3 Setting, click on the Settings flip menu
found above the EVB3 panel.
Scroll to the Load Setting option. In the ensuing dialog
window, browse to and select the name of the Setting that
you wish to load. The Setting will then load.
User Manual
Version 1
21
2
Getting Started
Note that if no Setting preset is loaded, a default set of parameters
will be used for the EVB3.
Tip: You can also make use of the Next/Previous Plug-In Setting Key
Commands. These are not set by default, so you will need to assign
them. Once assigned, you can simply press the appropriate Key
Command to step forwards/backwards through your EVB3 Plug-in
Settings.
Switching the Contents of the Plug-in Window
You can reassign any open plug-in window, in two different
ways, via the two flip menus to the right of the Settings flip
menu:
•
•
Using the Upper flip menu (Track 16 in the diagram), you can
switch the editor window between all channels. If you have
inserted the EVB3 on tracks 1 and 6, for example, you can
switch between these channels and adjust their effect
parameters.
In the Lower flip menu you can switch between the plug-in
slots of the selected channel, i. e. if a particular channel uses
an Equalizer and an EVB3 plug-in, you can switch the
window between them.
Changing the Plug-in View
The Editor button allows you to switch between the graphical
interface and the Controls appearance (horizontal faders on a
blue background).
Hints for Changing Parameters
•
•
•
22
You can reset any parameter to its default value by Oclicking (Mac) or ç-clicking (Windows) on it.
If you hold S before clicking and moving a control, its value
can be fine-tuned.
You can click anywhere on a slider, and move the mouse.
Emagic
EVB 3
X
2
Getting Started
H
Automation
As with every Logic plug-in, the EVB3 effects can be fully
automated, with full graphic support and no compromises.
Please refer to your Logic documentation for further information.
2.4.2
Recommended MIDI Setup
If you want to fully exploit all features of the organ, you will
need a MIDI bass Pedal unit, and two 73-key MDI keyboards.
As the EVB3 also emulates the B3’s preset keys, the lowest
octave of the MIDI keyboards can switch the EVB3 registrations, just like the original B3. Please read the Playing Both
Manuals and the Pedals Live section, on page 23 for more information.
Of course, the EVB3 can also be played with single-manual
keyboards with e. g. 61 keys (5 octaves C to c). Please read the
Keyboard Split section, on page 25 for more information.
Playing Both Manuals and the Pedals Live
The EVB3 receives the notes for the Upper and Lower
manuals, and the Pedalboard, on three subsequent MIDI channels.
The MIDI channel (MIDI Cha) of the Audio Instrument must be set to
All, and Keyboard Mode must be set to Multi.
The default Upper-manual receive channel is MIDI channel 1,
channel 2 for the Lower manual, and channel 3 for the Pedal
registers. If your master keyboard sends MIDI notes on
channel 1, it will play the Upper manual, if it sends on channel
2, it will play the Lower manual, and if it sends on channel 3, it
will play the Pedal register.
User Manual
Version 1
23
2
Getting Started
You may use any of your MIDI interface (e. g. Unitor 8 MkII or
AMT 8) inputs for your master keyboard(s) and/or Pedalboard.
You can also use a single-manual master keyboard—with
different keyboard zones or a keyboard split feature—that
sends data on different MIDI channels. Regardless of input
device(s) used, the only relevant factor is the MIDI send
channel!
Logic records the channel information of incoming notes. With
most other MIDI and software instruments, this information is
not used at all. This is due to Logic’s MIDI channel setting (in
the instrument parameters), which has priority, and overrides
the original channel information. This can be circumvented by
setting MIDI Cha = All, which is recommended for the EVB3.
This will “force” the original channel information to be used.
This enables you to make use of the two manuals, and Pedal,
register of the organ directly and simultaneously—when
playing live.
Please read the users manual of your master keyboard, to learn how
to set its MIDI transmission channel, often abbreviated as “TX
Channel”.
Changing MIDI Channels
You also can set the EVB3 to receive on a MIDI channel, other
than 1 for Upper, 2 for Lower and 3 for Pedal. This is done with
the parameter Basic MIDI Ch in the General section. The
receive channel number for Lower is always higher by 1 than
the channel assigned to Upper with Basic MIDI Ch, and the
Pedal register receive channel is always higher by 2, than the
Basic MIDI Ch selected for Upper.
24
The basic MIDI Channel is the only parameter which only is available
in Controls View. Touch the Editor field at the top of the plug-in
window in order to access Controls View.
Basic MIDI Ch works only if Keyboard Mode is set to Multi.
Emagic
EVB 3
2
Getting Started
H
When the base MIDI Ch is set to 16, the Lower manual receives on
channel 1, and the Pedal register on channel 2. When the base MIDI
Ch is set to 15, Lower receives on channel 16, and the Pedal register
receives on channel 1.
Selection of different MIDI channels may be necessary in a live performance situation, particularly if you need to change the MIDI transmission channel of your master keyboard, in order to play other sound
generators.
Keyboard Ranges of the Upper and Lower Manual
The lowest playable MIDI note is 36 (C1). The range of the
preset keys is note # 24 to 35 (C0 to B0).
128 notes are defined in the MIDI specification, but even the largest
master keyboards are only equipped with 88 keys, just like a concert
grand piano.
One example: If your master keyboard ranges from C to c (5
octaves—61 keys), and the sequence and instruments parameters of Logic are set to zero (Transpos. = 0), you can play the
entire keyboard range—i. e. every possible note of the EVB3.
The preset (registration) keys are positioned one octave Lower.
If you set Transpos. = −12, you can use the lowest octave to
switch between presets.
Keyboard Split
The EVB3 can also be played perfectly with a single MIDI
keyboard (one manual), that is only capable of transmitting on
one MIDI send channel. You can split the keyboard in order to
play Upper, Lower and Pedal on different keyboard zones.
In the parameter field in the bottom center of the GUI, set
Keyboard Mode = Split.
User Manual
Version 1
25
2
Getting Started
Set the keyboard zones with the UL Split and LP Split parameters, in conjunction with the Set buttons. The abbreviations are
for: Upper/Lower and Lower/Pedal. To do so, simply click on the
appropriate Set button (it will turn orange), and press the
desired note on your MIDI keyboard.
If the LP Split is set to a value above the UL Split, the other splitpoint
is moved (and vice versa).
If you select the same value for both splitpoints, the Lower manual is
not heard/active.
In order to use preset switching in conjunction with Keyboard Mode
Split, you might have to adjust the transpositions for the Upper
Manual (Trans UM), Lower Manual (Trans LM) and Pedal (Trans Ped).
2.4.3
Transposition (Octave Range)
You can individually transpose the Upper (Trans UM), Lower
(Trans LM) and Pedal (Trans Ped) registers up/down one or two
octaves, independent of the global transpose functions. Transposition is useful for setting the various registers to a particular
range, matching your needs. This facility is of particular importance when using split mode.
26
As with Logic’s global transposition functions (which can be set in
semitones), these manual-specific transpositions have no impact on
the preset keys. Also see the Preset Keys and Morphing section, on
page 33.
Emagic
EVB 3
2
Getting Started
2.4.4
H
MIDI Mode
This parameter allows you to define how the drawbar settings
will respond to remote MIDI control change messages.
Normally, you won’t need to change anything here. If you own
a MIDI drawbar organ, however, you’ll probably want to use its
hardware drawbars to control the EVB3. Most hardware
drawbar organs utilize an independent control change number
for every drawbar. Some models allow you to freely define
these control change numbers.
If you select MIDI Mode = 0, every drawbar responds to a
specific MIDI control change number, commencing with CC
#70. (Non-drawbar parameters may be set using control change
messages up to CC #118).
If you select MIDI Mode = 1, all of the EVB3 drawbars will be
controlled by just a few control change numbers—i. e. CC
#80—82. its values are intelligently mapped to all drawbars.
The resolution of this technique is not particularly high (much
like the original B3), but it works well. The Hammond-Suzuki
XB-2 uses this controller assignment method, allowing you to
remotely control the EVB3’s drawbars.
Before you commence a recording session with drawbar movements,
performed on a hardware organ and the EVB3 set to MIDI Mode 1,
we recommend that you disable MIDI Data Reduction in Logic. The
parameter is located under Options > Song Settings > Recording
Settings. The function thins out the incoming data stream, which
hardly can ever be noticed with normal controller assignments. The
controller mapping of the Hammond XB-2’s drawbars exploits the
controllers to their limits. Therefore, the MIDI Data Reduction can lead
to wrong values. Switch the parameter on again, after the drawbar
recording session, in order to gain memory and processing speed.
User Manual
Version 1
27
3
The EVB 3 Parameters
3 The EVB3
Parameters
The graphical user interface (editor view) opens when you
double-click on the EVB3 Input slot of an Audio Instrument
object. You can open and close the wooden lid by clicking the
field underneath the Volume control. Keep it open while
reading this manual, because in the following we will discuss
every parameter in detail.
28
Emagic
EVB 3
3
The EVB 3 Parameters
3.1
H
Drawbars
The principles of additive synthesis with sine drawbars is
further explained in the Additive Synthesis with Drawbars
section, on page 56. You can intuitively pick up the basic principles by playing a little with the drawbars. The further down
you drag the drawbars, the louder the selected sine choir(s) will
be—i. e. the drawbars behave like reversed mixer faders. MIDI
control of the drawbars is also reversed, when using a standard
MIDI fader box.
Drawbars of the Upper and Lower manual, plus Pedal drawbars.
3.1.1
Pedal Drawbars
The organ features two drawbars for the bass Pedals. The
waveform of the bass is not a pure sine wave, but a mixed waveform, that realistically simulates the Hammond B3 bass. The
two registers differ in pitch, and in the following ways:
The Lower 16' register contains more octaves,
the 8' register has a more prominent fifth portion.
User Manual
Version 1
29
3
The EVB 3 Parameters
3.2
Volume
3.2.1
Relative Volumes—Upper/Lower/
Pedal
In the Organ parameters section, you can set the volume of the
Lower manual, and the Pedal, relative to the Upper manual.
The parameters are called Lower Volume and Pedal Volume.
3.2.2
Volume Control and Expression
Pedal
The overall volume of the EVB3 is not only controlled by the
Audio Instrument volume fader and control change #7, but also
with the Volume control in the EVB3 graphic user interface.
The Volume must be lowered whenever crackling, or other digital
distortion, occurs in the Audio Instrument object. Volume levels over
0 dB can occur if you maximize all registers, play numerous notes, and
make use of the Distortion effect.
You can control the volume in real-time with an Expression
Pedal (Swell Pedal). Extensive, and often rhythmic, use of the
Expression (volume) Pedal forms part of the “style” of many
organ players. The expression control also emulates the tonal
changes of the B3 preamplifier. Bass and treble are not attenuated as strongly as the mids, much like a HiFi amplifier that
features a loudness correction facility.
Normally, you would connect an Expression Pedal to the
quarter inch Expression jack of your master keyboard. Your
master keyboard should transmit MIDI control change #11
when the pedal is moved.
30
Emagic
EVB 3
3
The EVB 3 Parameters
3.3
H
Tune
The simulated tone wheel generator can be tuned in cents
(percentages of a semitone). 0 c is equal to a' = 440 Hz.
The EVB3 does not accept the Global Instrument Tune MIDI
command.
3.4
Scanner Vibrato
The vibrato of the organ itself must not be confused with the
Leslie effect, which is based on rotating speaker horns. The
EVB3 simulates both.
The Scanner Vibrato is based on an analog delay line, consisting
of several low pass filters. The delay line is scanned by a multipole capacitor, which has a rotating pickup. It is a unique effect
that cannot be simulated with simple LFO’s.
Like the Hammond B3, the EVB3 features three types of
vibrato—with different intensities (V1, V2, V3). Vibrato speed is
set with the Rate parameter. In the positions V1, V2, V3 of the
Type parameter only the signal of delay line is heard.
The Chorus positions C1, C2 and C3 of the Type parameter mix
the signal of the delay line with the original signal. Mixing a
vibrato signal with an original, statically-pitched signal, results
in a chorus effect. The Chorus parameter allows you to freely
mix the dry signal with the vibrato signal. The Chorus parameter is only active if one of the chorus settings is engaged.
If the C0 setting is active, chorus and vibrato are disabled. Note
that the treble portion of the organ is boosted slightly if any
vibrato setting is used. This treble boost is maintained in the C0
setting.
User Manual
Version 1
31
3
The EVB 3 Parameters
The Upper and Lower buttons allow you to switch the scanner
vibrato (and its associated treble boost) on/off, individually, for
the Upper and Lower manual. As the B3 mixes the bass register
(Pedal) with the Lower manual, the Pedal register is affected
by the Lower manual’s scanner vibrato settings. This sideeffect reflects the technical limitations of the original B3.
Check out the chorus and vibrato effects, and compare them with the
sound of the rotor cabinet simulation! The organ’s chorus sounds
different to modern chorus effects (such as Logic’s chorus plug-in).
Many organ players rarely use the scanner vibrato, preferring to work
with a Leslie, in isolation. Others, like B 3 virtuoso Brian Auger, prefer
the integrated organ vibrato over the Leslie.
3.5
Percussion
Percussion is only available for the Upper manual—as it does
on an original B3. The percussion of an electro-mechanical
organ is polyphonic, but is only (re)triggered after all keys have
been released. If you release all keys, new notes or chords will
sound with percussion. If you play legato, or sustain other notes
on the Upper manual, no percussion will be audible.
On the original B3, percussion is only available if the “B”
preset key is selected (see Preset Keys and Morphing section, on
page 33). If you want this restriction to be simulated, set the
Perc parameter to Only B. You find this parameter in the Organ
section. If you always want percussion to be available, select
Always.
Activate percussion by pressing the On button in the Percussion section, to the top-right of the GUI. The percussion is
heard in the 4' register or in the 22⁄3' register, if the 2nd/3rd
button is set. Set the percussion decay time with Time, set its
level with Vol. This improves on the B3, where Time and Vol
could only be switched on/off, whereas these parameters can be
varied with the EVB3.
32
Emagic
EVB 3
3
The EVB 3 Parameters
H
Time has a maximum setting called “Paradise”. In this position, the
percussion doesn’t decay at all. The name is derived from a famous
Jimmy Smith recording “Groovin’ at Small’s Paradise”, where Jimmy
used a B3 that had a defect in the percussion trigger. The cool thing
about this technical flaw is that one harmonic sounds without
Chorus-Vibrato, while the drawbar harmonics feature ChorusVibrato. While we recognize that this is very specialized, we thought
it would be a nice inclusion, especially for jazz-oriented players.
The EVB3 percussion register can be played with velocity
sensitivity, unlike the B3. Set the percussion velocity sensitivity with Vel.
If you engage percussion on a B3, the volume of the normal,
non-percussive registers is reduced slightly. The Up Level
parameter simulates this behavior, allowing you to define the
volume of the Upper manual, with percussion engaged.
3.6
Preset Keys and Morphing
The Hammond B3 is equipped with 12 switches, located
below the lowest octave of both keyboard manuals. These are
the preset keys, and are laid out as an inverted keyboard octave
(black keys, white sharps). They are used to recall drawbar
registrations. These presets could only be altered with a screwdriver on the original B3.
Drawbars and Preset Section
MIDI notes 24 to 35, the octave below the lowest octave of a
(non-transposed) 5-octave keyboard, are used as the preset
keys. See the Keyboard Ranges of the Upper and Lower Manual
section, on page 25.
User Manual
Version 1
33
3
The EVB 3 Parameters
You can click these preset keys directly in the graphic user
interface of the EVB3. They are located to the left (Upper) and
right (Lower) of the Morph wheel. The current drawbar registrations are indicated by small vertical lines on each key.
The presets only relate to the registration of a single manual.
The presets do not store vibrato or other parameter settings.
The preset keys work in real-time, thus overall settings
(including effects, etc.) can be stored and recalled via the
Settings menu. See the Saving and Selecting Settings section, on
page 21.
On keys C# to A#, the percussion only works in Percussion Mode
Always (see Percussion section, on page 32).
Disabling MIDI Preset Switching
You can disable the switching of presets with MIDI notes 24 to
35, thus avoiding any problems that may arise from transpositions. To do so, Disable the MIDI To Preset Key.
Cancel Key, Registering while Playing
The lowest preset key (C) is the cancel key. if you depress it, all
drawbars are moved to their minimum setting. The other 11
keys, from C# to B, recall registrations. You can edit recalled
presets immediately. The preset memorizes these alterations
instantaneously, with no further action required. This means
that if you recall a new preset, the former preset memorizes the
drawbar settings at the time the new preset was recalled.
If you hold the cancel key (C) on your master keyboard with
the small finger of your left hand, and sustain a chord with your
right hand, you can trigger the chord with different registrations, by pressing the preset keys with the other fingers of your
left hand. This results in an organ-specific gater type effect,
which wouldn’t be possible with the right hand alone.
34
Emagic
EVB 3
3
The EVB 3 Parameters
3.6.1
H
Morphing
You can switch between the presets of the Upper manual with
any keyboard. To be more precise, you can switch between
registers with any MIDI controller—e. g. the modulation
wheel. Choose the desired MIDI controller with the Midi CC
parameter.
The step or linear Mode parameter options determine whether
an abrupt switch, or a seamless morph (cross-fade), occurs
between presets.
Switching the registers with this morphing function is only available
for the Upper manual.
Range
After deciding on a controller to use for switching or morphing
the Upper manual registers, you can determine the number of
preset keys that are affected.
The morphing (or switching) always begins with the top preset
key, the B. Range defines the “end” preset key. If Range = A#,
you will switch or morph between two presets. If Range = G#,
you will switch or morph between four presets (B, A#, A and G).
Save To…
In Linear Mode (morphing instead of switching), the seamless
crossfades result in a variety of new drawbar registrations you
might want to save. Before saving, you may wish to alter some
drawbar positions manually. Click the words Save To, and select
the destination preset key. You do not need to do anything else,
in order to save the setting to another preset key.
Note: As soon as you morph, the Morph text turns orange, indicating
changes—i. e. you are performing a morph. The morphing result(s)
can be further modified with the drawbars, but are lost if you don’t
save it/them. The Morph text will start to flash if any drawbar modifications are made, indicating changes to the Morph values.
User Manual
Version 1
35
3
The EVB 3 Parameters
3.7
Organ
The Organ parameters adjust the overall behaviour of your
EVB3.
Please note: The parameters Lower Volume and Pedal Volume are
discussed in the Relative Volumes—Upper/Lower/Pedal section, on
page 30. The parameter Perc is discussed in the Percussion section, on
page 32.
3.7.1
Max Wheels
Calculating (emulating) all tone wheel generators consumes
considerable CPU processing power. A reduction of this parameter value reduces the EVB3’s hunger for processing resources.
Note that this will diminish some overtones, so you should not
reduce this value if you’re after an ultra-realistic simulation.
3.7.2
Tonal Balance
Tonal Balance changes the mix relationship of the higher/lower
sounding tone wheels. Positive values result in a lighter and
brighter sound. Experiment with different Tonal Balance and
Equalizer settings. See the Equalizer section, on page 44, for
further information.
3.7.3
Shape
While the Hammond’s tone generators produce pure sine
waves (despite technical artefacts), other organs deliver
distorted waveforms. You can produce sounds resembling those
of Farfisa, Solina or Yamaha organs with the Shape parameters.
You can subtly alter the waveform of the sounds emanating
from the tonewheel generator with the Shape parameter.
Moving the parameter to the right will make the tone brighter
(and louder), and moving it to left will make it duller (and
softer).
36
Emagic
EVB 3
3
The EVB 3 Parameters
H
Note that the Shape parameter is placed after the filters which
follow the sine generators.
3.7.4
Bass Filter
The sound of the Pedal drawbars often appears to be somewhat
“brilliant”, within the overall musical context. To circumvent
this issue, and to suppress the treble of the bass register, please
make use of the Bass Filter. When active, you will only hear a
solid bass organ fundamental in the bass register.
3.7.5
Ultra Bass
If you switch on Ultra Bass, another low octave will be added to
the playable range of the Upper and Lower manuals. These
additional low octaves, and the ability to independently transpose both manuals (see Transposition (Octave Range) section, on
page 26), are not available on the original B3.
3.8
Condition
Technical limitations of electro-mechanical drawbar organs
with tonewheels cause some strange tonal artefacts, such as
crosstalk. These quirks form an integral part of the B3’s charm.
With the following parameters, you can adjust these parameters
and thus define the age of your EVB3.
Read more about the Click parameters in the Click section, on page
39.
User Manual
Version 1
37
3
The EVB 3 Parameters
3.8.1
Drawbar Leak
Even if all drawbars are at their minimum position, the tonewheel generators of the B3 aren’t completely quiet. This is due
to “leakage” of the tone wheels, cross-talking with the output.
Drawbar Leak allows you to set the minimum output level of
the drawbars, when set to minimum. At a value of 0, you can
completely eliminate this leakage. At the maximum setting,
drawbar leakage is most definitely audible.
3.8.2
Leakage
Leakage adds a sound resulting from the crosstalk of all tone
wheels—including those of the notes that you don’t play. This
provides “breath” to the organ sound.
3.8.3
Crosstalk
The Hammond’s tone wheels are divided into compartments of
four—with the same key, but in different octaves. There are
two tonewheels, four octaves apart, on each rotating shaft. The
signal of the Lower wheel contains a small amount of signal,
induced by the higher wheel, and vice versa. This “crosstalk”
can be adjusted with the Crosstalk slider. Note that crosstalk is
only audible on certain wheels, avoiding “rumble” when
chords are played.
3.8.4
Random FM
If the tonewheel generator is clean, all frequencies are
“straight”—i. e. the frequencies are even/in tune. The 3-fold
decoupling of the tonewheels—via springs, flexible couplings
and flywheels—is very effective, but can’t compensate for
irregularities that come with dirt and grease in the driving gear.
This gradual build-up of grime in the mechanism makes the
38
Emagic
EVB 3
3
The EVB 3 Parameters
H
revolution of the tonewheel assembly irregular on its axis. This
is transmitted to the tonewheels. The Random FM slider allows
you to simulate this effect. Note that the effect only becomes
audible in the higher frequency ranges.
3.8.5
Filter Age
The high frequency output signals of the B3’s tone wheel
generators are filtered by bandpass filters. The center
frequency of these filters vary as the capacitors age. Filter Age
allows you to alter the center frequencies of the filters. This
colors the sound of the jitter applied by Random FM and the
background noise resulting from Leakage. (See the Leakage
section, on page 38 and Random FM section, on page 38.) This
parameter also influences the intonation of the organ, if you use
the pitch bender.
3.9
Click
The key contacts of electro-mechanical tonewheel organs tend
to “saw” a little on the busbar, introducing a short “click”
sound. If any corrosion occurs to the key contacts or busbar, this
will increase the length, and level, of this click. This aspect of
the B3’s design causes irregular scratching noises (commonly
referred to as “keyclick”), when striking and releasing keys.
Hammond fans like these clicking noises, as they introduce a
transient, percussive quality to the note. The EVB3 allows you
to adjust the volume and sound of the key click. The click
sound is altered randomly, and independently, from the click on
and click off (release) volume settings.
Click On/Click Off
These two knobs independently control the click volume for
the beginning (Click On), and release, of the note (Click Off).
The click off is quieter, even if both controls are set to the same
position.
User Manual
Version 1
39
3
The EVB 3 Parameters
Click Min/Click Max
Not only are the tone color, and volume, of clicks altered
randomly, but also their duration. Click duration can vary
between a short “tick” and a longer “scratch”. Minimum duration is defined by Click Min, and maximum duration with Click
Max. The duration is displayed in milliseconds, as you move
the sliders.
Even if both parameters have identical values, there is still a random
variation in sound. This variation makes some clicks seem shorter than
the value set with Click Min.
Click Color
Set the tone color of the click here. Despite its random variation, you can define its treble portion globally.
3.10 Pitch
Compared to the original B3, the EVB3 offers quite a lot of
parameters to change its pitch behaviour.
Please note: The parameters Trans UM, Trans LM and Trans Ped are
explained in the Transposition (Octave Range) section, on page 26.
3.10.1 Stretch
The EVB3 is tuned to an equal-tempered scale. As a deviation
from this standard tuning, you can stretch the tuning in the bass
and treble ranges, much like acoustic pianos (especially upright
pianos). If you select a value higher than 0 for Upper Stretch,
the pitch of the higher notes will be raised. If you select a value
higher than 0 for Lower Stretch, the pitch of the Lower notes
will be lowered.
40
Emagic
EVB 3
3
The EVB 3 Parameters
H
The tones of clavinets, harpsichords and pianos have “inharmonicities” in their harmonic structure. The frequencies of these “overtones” (harmonics) are not exactly “whole-number” multiples of the
base frequency, as pythagorean theory dictates. They are only approximate and are, in fact, a little higher. The overtones of lower (tuned)
notes, therefore, are more closely related to the main frequencies of
the upper notes. Due to the lack of strings, this inharmonic relationship is not true of organs. The stretch feature was included for situations where you may wish to use the EVB3 in an arrangement, alongside an acoustic or digital piano (EVP 88 and EVD 6 Clavinet). When
arranged in conjunction with an orchestra or synthesizers, the
stretched tuning facility should not be used. Please experiment!
Lower Stretch controls the amount of deviation from the equaltempered scale in the bass end of the sound. The higher the
value, the further down the low notes are tuned. At a setting of
0, the EVB3 is tuned to an equal-tempered scale, with each
octave below exactly halving the frequency. Upper Stretch
controls the amount of deviation from the equal-tempered
scale in the treble end of the sound. The higher the value, the
further up the high notes are tuned. At a setting of 0, the EVB3
is tuned to an equal-tempered scale, with each octave up
exactly doubling the frequency.
3.10.2 Warmth
Warmth controls the amount of random deviation from an
equal-tempered scale. High values add “life” to organ sounds,
but tend to sound a little out of tune.
When applying Warmth and Stretch, you should consider that
these parameters may result in a detuned sound, which is
similar to the overuse of a chorus effect. Straight tuning is nice
too, so set Warmth to 0 if you’re after a “pure” sound.
User Manual
Version 1
41
3
The EVB 3 Parameters
3.10.3 Pitch Bender, Brake Effect
The Hammond organ has no pitch bender. As such, use of the
pitch bender is not suitable for realistic simulations, but it does
provide a number of creative options.
Pitch up/down bender sensitivity can be set independently, in
semitone steps, with the Pitch Bend Up and Pitch Bend Down
parameters. The maximum sensitivity for upward bends is one
octave.
You can set Pitch Bend Down to Brake, which gradually slows
the movement of the tone wheels down to a total stop, at the
pitch bender’s minimum position.
The Pitch Bend Down = Brake setting recreates an effect audible at the
end of “Knife Edge” by Emerson, Lake and Palmer. Keith Emerson’s
virtuoso Hammond work was recorded on a reel-to-reel tape recorder.
At the end of the song, you can hear the tape recorder being gently
slowed to a total stop.
3.11 Sustain
Synthesizer players call the time the note takes to fade out after
the release of the key the “Release Time”. The EVB3 allows
you to control this parameter as well; it’s called “Sustain” in the
organ lexicon. The three controls allow for individual settings
in the Upper (Up), Lower (Low) and Pedal (Ped) registers.
If you select the Smart Mode, playing new notes will cut the
sustain (release) phase of released notes. Normal Mode allows
polyphonic sustain phases—i. e. all released notes will continue
to sustain. Smart Mode allows long sustain times, even in the
bass register, which would normally cause rumbling dissonances.
42
Emagic
EVB 3
3
The EVB 3 Parameters
H
3.12 Effects
The EVB3 features a three-band equalizer, a reverberation
effect, a pedal-controllable wah wah, and a distortion effect that
simulates the sound of an overdriven tube amplifier. Finally,
the signal can be processed by the rotor effect.
Logic allows further processing, using the insert slots and auxiliary sends. You may freely use native and/or VST-plug-ins to
process your EVB3 tracks.
The Scanner Vibrato, Rotor cabinet and overdrive distortion
“Dist II” are included in the EVB3 package, as independent
native plug-ins, for use on any of Logic’s audio channels. This
allows you to apply the Rotor effect to other tracks as well. The
Leslie rotor cabinet isn’t only famous as the amplifier for the
Hammond organ. It’s a great effect for guitar, vocals or acoustic
piano as well!
3.12.1 Effect Chain and Effects Bypass
Effect Chain
The EVB3’s signal flow is as follows: the organ’s signal runs
through the equalizer, wah wah and distortion effects. You can
choose between four different signal flow routings for the
equalizer, wah wah and distortion effects in the Effect Chain flip
menu. This treated signal is then fed into Reverberation and
finally passed to the Rotor effect.
A “classic” B3 patch would be: an EQ’ed organ, plugged into a
wah wah pedal, amplified by an overdriven Leslie. Select EQWah-Dist.
User Manual
Version 1
43
3
The EVB 3 Parameters
The sound of the overdrive changes if the input signal is being
filtered—be it by the EQ, or the wah wah. If you patch the EQ
before the overdrive, the sound of the overdrive becomes much
more flexible. The output signal of the distortion effect always
contains high frequency content. If you want to suppress these
frequencies, the wah wah must be the final effect in the chain—
e. g. EQ-Dist-Wah.
If you wish to create a “screaming” sound (achieved by
distorting the wah wah output), you can minimize any “harshness” by choosing the Wah-Dist-EQ routing.
You can suppress the brutal overtones of extreme distortions
with two filters: Select Dist-EQ-Wah.
Effect Bypass
The effects distortion, Wah and EQ can be bypassed separately
for the Pedal register. Set Effect Bypass to Pedal to do so. This
avoids the entire bass portion of your organ being suppressed
by the wah wah. It also avoids undesirable intermodulation
artefacts, when utilizing the overdrive effect.
If you select None, the entire output of the organ is processed,
as if you had plugged the B3’s mono output into a Leslie
cabinet.
3.12.2 Equalizer
Being a Logic user, you won’t have any questions about the EQ
Low, EQ Mid and EQ High controls. The EQ algorithm is derived
from Logic Platinum’s Fat EQ. EQ Level is a master EQ volume
control, allowing you to specify any gain level to the distortion
effect. See Effect Chain and Effects Bypass section, on page 43 for
details on effects routing options.
44
Emagic
EVB 3
3
The EVB 3 Parameters
H
3.12.3 Reverb
Box, Small, Medium, Large, Big and Spring are the names of the
reverb algorithms.
Reverb level is defined by the Reverb parameter. A Reverb =0
value conserves processing resources.
You can also select Bypass in the Reverb Mode flip menu, if you
want to disable the reverb without changing its level.
The reverb is always patched after the EQ, wah wah and distortion effects, but before the rotor effect. This means that the
reverb always sounds as if it is played back through the rotor
speaker. To hear the reverb after the rotor, switch off the organ’s
reverb, and use an aux send to apply reverb to the Audio Instrument object.
3.12.4 Wah
The name “Wah Wah” comes from the sound it produces. It has
been popular with electric guitarists since the days of Jimi
Hendrix. The pedal controls the cutoff frequency of a band
pass, low pass, or—less commonly—a high pass filter. The wah
wah pedal has also been used extensively with the Hammond
organ.
MIDI Pedal Control
It is recommended that you permanently attach an Expression
Pedal to your MIDI master keyboard. Your master keyboard
should transmit MIDI control change #11 (Expression realtime volume), if you attach an Expression Pedal to the Expression jack and move it. This would normally be used to control
the volume while playing.
If you program an EVB3 setting, set the Expression parameter
to 0, and then define a wah wah effect (with controller 11
controlling the wah wah’s cutoff frequency), you can control the
wah wah with the pedal—without having to program anything
on the master keyboard.
User Manual
Version 1
45
3
The EVB 3 Parameters
Read more on this in the Recommended MIDI Setup section, on page
23. You should also consult the users manual of your keyboard.
Wah Wah Control with Other MIDI-Controllers or
Aftertouch
You can use any MIDI control change message to control the
wah wah effect. You can select any controller number and
Channel Aftertouch (Touch) in the CC field.
Mode
Mode allows you to enable/disable the wah wah effect. If you
select Mode off, the effect is disabled. There are six different
filter types available:
ResoLP (Resonating Low Pass Filter)
In this mode, the wah wah will work as a resonance-capable low
pass filter. At the minimum pedal position, only low frequencies can pass.
ResoHP (Resonating High Pass Filter)
In this mode, the wah wah will work as a resonance-capable
high pass filter. At the maximum pedal position, only high
frequencies can pass.
Peak
In this mode, the wah wah will work as a peak (bell) filter.
Frequencies inside the center frequency, which is controlled by
the selected MIDI controller, will be emphasized.
CryB
This setting mimics the sound of the popular Cry Baby wah.
Morley 1
This setting mimics the sound of a popular wah pedal, manufactured by Morley. It features a slight “peak” characteristic.
Morley 2
This setting mimics the sound of the Morley distortion wah
pedal. It has a constant Q.
46
Emagic
EVB 3
3
The EVB 3 Parameters
H
Range
Range controls the sensitivity of the wah to controller movements. If you only intend to make slight alterations to the cutoff
frequency, choose a small value.
Bite
Bite is the name for the resonance parameter of the wah filter.
You’ll know the parameter’s meaning, if you’re a synthesizer
player. Anyway, check it out: The cutoff frequency is boosted.
High values make the wah sound more aggressive.
3.12.5 Distortion
The distortion effect simulates an overdriven two-stage tube
amplifier. Its primary role is the simulation of the Leslie amplifier—or whatever amp might be used to feed the Leslie
speaker cabinet.
Under Type, you’ve got the choice between three different tube
amp types: Growl, Bity and Nasty. Growl simulates a two-stage
tube amplifier, resembling the Leslie 122 Model, the classic
partner for the Hammond B3 organ. Bity is reminiscent of a
bluesy guitar amp. Nasty delivers hard distortions, and is well
suited for very aggressive sounds.
The Tone control only affects the distorted portion of the sound,
while the dry signal portion remains unaffected. This allows for
very warm overdriven sounds that won’t become “scratchy” if
you try to get more treble out of the instrument.
Drive controls the amount of overdrive distortion. The output
level is automatically compensated for, so there’s no need for
another master volume control adjustment facility.
User Manual
Version 1
47
3
The EVB 3 Parameters
3.12.6 Rotor Cabinet
The Hammond story can’t be fully told without a chapter on
the rotor sound cabinets, manufactured by Leslie. In fact,
playing the B3 organ without a rotor cabinet is viewed as a
“special effect” these days. The EVB3’s rotor cabinet section
simulates not only the speaker cabinet itself, but also the microphones which pick up the sound.
Cabinet
There are four settings available:
off
In the off setting, there’s no rotor effect at all and you’ll hear the
direct output signal of the organ, and/or the other effects.
There’s an alternative to switching the rotor effect off: in the
Brake mode, the speakers don’t rotate, but are still picked up by
the simulated microphones, in a random position. (see Rotor
Speed section, on page 49).
Wood
The Wood setting mimics a Leslie with a wooden enclosure,
and sounds like the Leslie 122 or 147 models.
Proline
The Proline setting mimics a Leslie with a more open enclosure, similar to a Leslie 760 model.
Single
In the Single setting, the sound of a Leslie with a single, fullrange, rotor is simulated. The sound resembles the Leslie 825
model.
Split
In the Split setting, the bass rotor’s signal is routed more to the
left side, and the treble rotor’s signal is routed more to the right
side.
48
Emagic
EVB 3
3
The EVB 3 Parameters
H
Rotor Speed
The Rotor Speed switches work as follows: Choral = slow
movement, Tremolo = fast, and Brake stops the rotor.
Speed Control
Organ players generally switch between Choral and Tremolo.
With the EVB3, you can switch speeds remotely via controllers
as the Modulation Wheel (ModWhl), Channel Aftertouch
(Touch), Sustain Pedal (SusPdl), or, alternately, exclusively via
mouse (off).
ModWheel—If you choose the modulation wheel, you can set
all three speed settings in real-time. Brake is selected around
the modulation wheel’s center position, while Choral is selected
in the lower, and Tremolo in the upper third of the modulation
wheel’s travel.
All other entries in the Speed Control flip menu work as follows:
They toggle between Tremolo and the speed set with the Rotor
Speed radio buttons, that means either between Choral and
Tremolo, or between Brake and Tremolo. If Rotor Speed is set to
Tremolo, you will toggle between Tremolo and Choral. The
difference between the entries is how the toggle action takes
place.
ModWhl Toggle—Toggles as soon as the Mod Wheel exceeds its
center value on its way from its low position to its high position.
If the Mod Wheel passes its center value on its way from its
high to its low position, there will be no toggle This has been
implemented for Roland keyboards with combined Pitch
Bend- and Modulation levers.
ModWhl Temp—Toggles as soon as the Mod Wheel passes its
center value, regardless if you move the Mod Wheel from high
to low or from low to high. This has been implemented for
Roland keyboards with combined Pitch Bend- and Modulation
levers.
Touch—Toggles as soon as you press Aftertouch. If you release
Aftertouch, there will be no toggle.
User Manual
Version 1
49
3
The EVB 3 Parameters
Touch Temp—Toggles as soon as you press Aftertouch. If you
release Aftertouch, there will be another toggle.
SusPdl Toggle—Toggles as soon as you press the Sustain Pedal.
If you release the Sustain Pedal, there will be no toggle.
SusPdl Temp—Toggles as soon as you press the Sustain Pedal. If
you release the Sustain Pedal, there will be another toggle.
The Hammond B 3 isn’t equipped with a Sustain Pedal. This allows you
to make use of your MIDI master keyboard’s Sustain Pedal as a speed
switch.
Rotor Fast Rate
Rotor Fast Rate defines the maximum possible rotor speed
(Tremolo). While moving the slider, the Tremolo rotation
speed is displayed in Hertz.
Acc/Dec Scale
The Leslie motors have to physically accelerate and decelerate
the speaker horns in the cabinets, and their power to do so is
limited. Acc/Dec Scale determines the speed at which the
motors can accelerate the rotors (time it takes to get the rotors
up to a determined speed), and the length of time it takes for
them to slow down. If the slider is set to its far left position, you
can switch to the preset speed immediately. If you drag the
slider to the right, speed changes take more time to occur.
In the default position of 1, which, like any default in Logic,
can be set by clicking the slider while holding O (Mac) or ç
respectively, the behavior is Leslie-like.
50
Emagic
EVB 3
3
The EVB 3 Parameters
H
Horn Deflector
If you look inside a Leslie cabinet, you’ll see a double horn,
with a deflector at the horn mouth. This deflector “makes” the
Leslie sound. Some people, however, removed it to alter the
Leslie sound, as removal of the deflector increases amplitude
modulation, and decreases frequency modulation. This parameter allows you to switch the deflectors on and off, without
needing to order spare deflectors.
Mic Distance/Mic Angle
The Mic Angle slider defines the stereo image, by changing the
angle of the simulated microphones. An angle of 0° results in a
mono sound, while an angle of 180° causes phase cancellations.
Experienced sound engineers tend to avoid wide spreads.
Mic Distance makes the sound darker, and less defined, when
set to higher values. This is typical of microphones, when positioned further from the sound source.
Motor Control
The original Leslie amps have simple AC outlets for connection of the motor plugs. Modification is easy, you just remove or
swap the plugs, for the motors.
Please note: With Single Cabinet, the Motor Ctrl setting is irrelevant,
because there are no separate bass and treble rotors in a Single
Cabinet.
A “fancy” variation is the inverse mode (Motor Ctrl = inv). If
you switch to Tremolo, the bass compartment rotates with fast
speed, while the horn compartment rotates with slow speed,
and vice versa in Chorale mode. In Brake mode, both rotors will
stop.
The 910, or “Memphis” mode, stops the bass drum rotation at
slow speed, while the speed of the horn compartment can be
switched. This may be desirable, if you’re after a solid bass
sound, but still want treble movement.
User Manual
Version 1
51
3
The EVB 3 Parameters
Another Mode is Sync: The acceleration and deceleration of the
horn and bass drum are about the same. This sounds as if the
two were locked, but is only clearly audible during acceleration/
deceleration.
52
Emagic
EVB 3
4
Separate Effect Plug-ins
H
4 Separate Effect
Plug-ins
Processing vocals, guitar or an electric piano with a rotor
cabinet, processing the ES2 with an authentic scanner vibrato,
applying some tube distortion to a guitar track etc.—all this can
be simulated with the separate effects plug-ins, included in the
EVB3 package. These plug-ins can also be used with the
EVB3, enabling you to create the sound of two rotor cabinets,
for example. You also can place the effects in an unconventional
order.
Their parameters are as per those of their EVB3 counterparts,
so there’s nothing new to explain about them.
4.1
Scanner Vibrato
In its mono-version, the stereo parameters of the scanner vibrato are
hidden behind a transparent cover (right).
You can find the Scanner Vibrato in the Logic > Modulation >
ScannerVibrato plug-in submenu. It’s available in mono,
stereo, and mono>stereo configurations.
User Manual
Version 1
53
4
Separate Effect Plug-ins
If Stereo Phase is set to free, the modulation speed can be set
independently for the left (Rate Left) and right (Rate Right)
channels. This allows for quite wild effects, as left and right
modulation are not synchronized to each other.
If Stereo Phase is set to 0 to 360 degree, the modulation speed
for the left and right channel together is set with Rate Left.
Stereo Phase determines the phase relation between left and
right modulation, thus enabling synchronized stereo effects.
Rate Right has no function in this mode.
Read more about the other parameters in the Scanner Vibrato
section, on page 31.
4.2
Rotor Cabinet
You can find the Rotor Cabinet in the Logic > Modulation >
plug-in submenu. It’s available in stereo and
mono>stereo configurations. Read a description of the parameters in the Rotor Cabinet section, on page 48.
Rotor Cabinet
54
Please note: There is no Speed Control parameter on the Rotor
Cabinet plug-in. You can switch rotor speeds manually.
Emagic
EVB 3
4
Separate Effect Plug-ins
4.3
H
Distortion II
The Distortion II plug-in is found in the Logic > Distortion >
Dist II plug-in submenu. It is available in mono, stereo, and
mono>stereo configurations.
In order to have a broader range of distortion colours, you can
raise the input signal by up to 20dB or lower by up to 10dB with
PreGain.
Read a description of the other parameters in the Distortion
section, on page 47.
User Manual
Version 1
55
5
Additive Synthesis with Drawbars
5 Additive Synthesis
with Drawbars
The Hammond B3 is the classic drawbar organ. As with an
acoustic pipe organ, the registers (drawbars, or “stops” on a
pipe organ) can be pulled out, in order to engage them. But in
contrast to a pipe organ, the B3 allows seamless mixing of any
drawbar registers. The more you drag the drawbars down, the
louder they will become.
Despite characteristics, such as key clicks, intonation undulations, distortions and crosstalk (which are emulated by the
EVB3), playing a single note, with a single register, results in a
pure sine tone. Mixing harmonic sine tones results in more
complex spectra, and is known as “additive synthesis”.
Organs—even acoustic pipe organs—can be regarded as additive synthesizers. There are, however, several limitations that
need to be considered before viewing the instrument in this
way. These limitations, on the other hand, constitute the character of any real musical instrument, loaded with charm.
The naming of the drawbars is derived from the length of organ
pipes, measured in feet ('). This naming convention is still used
with electronic musical instruments. Halving the length of a
pipe doubles its frequency. Doubling the frequency means
nothing other than: one octave up.
The lowest register, 16' (far left, brown drawbar), and the
higher octaves 8', 4', 2' and 1' (white drawbars) can be freely
mixed, in any combination. 16' is commonly described as the
“sub-octave”. When we’re regarding this register as the fundamental, the octave above 8' is the second partial, 4' the fourth,
2' the eighth and 1' the sixteenth partial.
56
Emagic
EVB 3
5
Additive Synthesis with Drawbars
H
With the 51⁄3' register—the second brown drawbar—you can
add the third partial. This is the fifth above the 8'. Basically, the
drawbars are arranged by pitch, but there is, however, an exception. The second drawbar (51⁄3') is sounding a fifth higher than
the third drawbar. See the Residual Effect section, on page 58 for
an explanation.
22⁄3' gives the sixth, 13⁄5' the tenth and 11⁄3' the twelfth partial.
So the electromechanical tone-wheel organ gives you the
partials 1 (16'), 2 (8'), 3 (51⁄3'), 4 (4'), 6 (22⁄3'), 8 (2'), 10 (13⁄5'), 12
(11⁄3') and 16 (1'). As you can see, the harmonic spectrum is
nowhere near “complete”. That’s the reason why overdrive
distortion effects are so popular with electromechanical tonewheel organs—they enrich the harmonic spectra by generating
more partials.
The term “partial” is basically the same as “harmonic”, but they are
counted in a slightly different way. The fundamental is counted as the
first partial. its octave, twice the frequency, is the second partial, but
is known as the first harmonic. The fifth partial oscillates at five times
the frequency of the fundamental. The fifth partial is known as the
fourth harmonic, because with harmonics, the fundamental is not
counted (which makes the term “harmonic” less practical to use).
22⁄3' is the fifth over 4'. 13⁄5', is the major third over 2'. 11⁄3' is the fifth
over 2'. In the bass range, this can lead to inharmonic tones, especially
when playing bass lines in a minor key. This is because mixing 2', 13⁄5'
and 11⁄3' results in a major chord.
User Manual
Version 1
57
5
Additive Synthesis with Drawbars
5.1
Residual Effect
The residual effect is a psychoacoustic phenomenon. Human
beings can perceive the pitch of a note, even when the fundamental is completely missing. If we didn’t “hear” this way, it
would make listening to music with a kitchen radio impossible.
Its speaker will never play back the fundamental of the bass
line, as this frequency is far below the range that the speaker
can transmit. If you pull out all registers of the drawbar organ,
except for the fundamental—16', you’ll still perceive the same
pitch. The sound becomes thinner, with less bass and less
warmth, but the pitch remains the same.
Setting drawbar registrations often involves this psychoacoustic
phenomenon. In the lower octaves, mixing the 8'and 51⁄3' sine
drawbars creates the illusion of a 16' sound, although the
frequency is missing. Old pipe organs also make use of the
residual effect, by combining two smaller pipes, eliminating
the need for long, heavy, air-hungry, and expensive giant pipes.
This tradition is continued in modern organs, and is the reason
for arranging the 51⁄3' under 8: The 51⁄3' tends to create the illusion of a pitch that is one octave lower than 8'.
58
Emagic
EVB 3
6
A Short Hammond Organ Story
H
6 A Short Hammond
Organ Story
Three inventions inspired Laurens Hammond (1895—1973), a
manufacturer of electric clocks, to construct and market a
compact electro-mechanical organ with tone wheel sound
generation. The Telharmonium by Thaddeus Cahill was the
musical inspiration, Henry Ford’s mass production methods,
and the domestic synchron clock motor were the other factors.
The Telharmonium was the first musical instrument that made
use of electromechanical sound generation techniques. In the
year 1900, its man-sized tone wheel generators filled a twostorey building in New York. For a short period around this
time, subscribers could order Telharmonium music over the
New York telephone network (the streaming audio system of
the time). The only amplification tool was the telephone’s
mechanical diaphragm, as a proper tube amplifer and acceptable speakers had not yet been invented. The Telharmonium
was a commercial flop but its historical status as the predecessor
of modern electronic musical instruments is undeniable. The
Telharmonium also introduced the principles of electronic
additive synthesis (see Additive Synthesis with Drawbars section,
on page 56).
Laurens Hammond began producing organs in 1935, in
Chicago, Illinois, making use of the same sound generation
method. The differences were; much smaller tone generators,
and fewer registers. The patent for his model A organ dates
from 1934.
Hammond also holds the patent for the electro-mechanical
spring reverb, still found in countless guitar amplifiers today!
User Manual
Version 1
59
6
A Short Hammond Organ Story
The Hammond B3 was manufactured between 1955 and 1974.
It is the Hammond model preferred by jazz and rock organ
players such as: Fats Waller, Wild Bill Davis, Brother Jack
McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger,
Steve Winwood, Joey DeFrancesco and Barbara Dennerlein. In
addition to the B3, there are a number of smaller Hammond
instruments, known as the “spinet” series (M3, M100, L100,
T100). Bigger console models, many of which were designed to
suit the needs of American (U. S. A.) churches or theatres
(H100, X66, X77, E100, R100, G-100), were also manufactured.
The production of electro-mechanical organs ceased in 1974.
Thereafter, Hammond built fully electronic organs. Today,
people at Hammond-Suzuki are more conscious of their
glorious tradition and produce fine electronic drawbar organs.
In 2002, they even introduced a new digital B3 model which
mimics the design and functions of the classic B3 (except for
the weight). The new B3 utilizes a real, mechanical, rotor
speaker cabinet.
6.1
Tonewheel Sound
Generation
Tonewheel sound generation resembles that of a siren. Of
course, there’s no air being blown through the holes of a
revolving wheel. Rather, an electro-magnetic pickup, much
like a guitar pickup is used.
A notched metal wheel, called a tone wheel, revolves at the end
of a magnetized rod. The “teeth” of the wheel cause variations
in the magnetic field, inducing an electrical voltage. This
voltage/tone is then filtered, sent through the manuals, amplified, has vibrato and expression applied to it, and is then amplified.
60
Emagic
EVB 3
6
A Short Hammond Organ Story
H
A long drive shaft is driven by an AC synchronous motor. 24
driving gears are attached to the shaft, with 12 different gear
sizes. These gears drive the tone wheels. The frequency
depends on the gear ratios, and the number of notches in the
wheels. The Hammond is tuned to an almost exact welltempered scale.
As with pipe organs that feature “multiplexed registers”, the
Hammond organ uses certain generators for more than one
purpose. Some high frequency wheels serve as the fundamental for high notes, and provide harmonics for lower notes.
This has a positive impact on the overall organ sound, avoids
detuning and stabilizes levels.
6.2
The Leslie
Don Leslie developed his rotor cabinets in 1937, and began
marketing them in 1940. Laurens Hammond wasn’t keen on
the concept of rotating speakers at all! Leslie’s approach was to
simulate a variety of locations in the pipes, resulting in a new
spatial perception for every note. The rotor speaker cabinets
could simulate this effect, and the sense of space that they
impart is incomparable, when placed side-by-side with any
fixed speaker. The periodic undulations in sound and volume,
and the vibrato caused by the doppler effect aren’t all there is to
the Leslie “sound”— it’s the space effect, too!
The first Leslie, the model 30, had no chorale, just tremolo and
stop. The Chorale idea (which came much later) was borne of a
desire to add a vibrato to the organ. Chorale offers far more than
a simple vibrato, and was first introduced to the market with the
122/147 models. At this time, Leslie also added the “Voice of
the pipe organ” label to his cabinets.
User Manual
Version 1
61
6
A Short Hammond Organ Story
It wasn’t until 1980 that the two companies and brand names
came together, six years after the last tonewheel organ was
built. Mechanical Leslie rotor cabinets are still being built
today, by the Hammond-Suzuki company. Even the newest
digital B3 model is combined with a real, mechanical, Leslie
cabinet.
As an interesting piece of trivia, Don Leslie never actually
owned a Hammond organ!
If you’re interested in every detail of the Hammond organ’s
history, models, facts and recommendations for buyers, you
should take a look at “The Hammond Organ—Beauty in the
B”. This book, by Mark Vail, is highly recommended.
Jan-Friedrich Conrad
62
Emagic
EVB 3
7
Further Information
H
7 Further
Information
A great deal of additional information on the history, and technical aspects, of the Hammond (and other) organs can be found
on the Internet. We have provided the following links for your
use:
http://theatreorgans.com/hammond/
http://www.dairiki.org/HammondWiki/
User Manual
Version 1
63
8
MIDI Controller Assignments
8 MIDI Controller
Assignments
In most circumstances, Logic’s track automation is your best
option for the recording of manual movements in the plug-in
window.
MIDI automation is the better option when you wish to make
use of your hardware MIDI drawbar organ as a remote control
for the EVB3. The following tables outline the MIDI
controller assignments of the EVB3. The assignments are optimized for use with several popular MIDI drawbar organ
models. In order to match the default settings of all popular
organs, some parameters are assigned twice. You need not
concern yourself about this.
If you use a Hammond XB-series organ, switch to MIDI Mode 1. If
you use a Roland or Korg organ, choose 0.
This table describes the MIDI Control Change Message
number assignment when MIDI Mode is set to 0. This is the
correct setting, if you use a Roland VK series, or Korg CX-3,
drawbar organ as a remote controller for the EVB3.
Controller Number MIDI Mode 0: Parameter Name
70
Drawbar 16'
71
Drawbar 5-1⁄3'
72
Drawbar 8'
73
Drawbar 4'
74
Drawbar 2-2⁄3'
75
Drawbar 2'
76
Drawbar 1-3⁄5'
77
Drawbar 1-1⁄3'
64
Emagic
EVB 3
8
MIDI Controller Assignments
H
Controller Number MIDI Mode 0: Parameter Name
78
Drawbar 1'
Rotor Cabinet
80, 92
Chorale/Brake/Tremolo
81
Chorale/Brake
Reverb
82
Reverb Level
Vibrato
85
Upper Vibrato on/off
86
Lower Vibrato on/off
87
Chorus Vibrato Type
Percussion
94
on/off
95
2nd/3rd
102
Percussion Volume
103
Percussion Time
Equalizer
104
EQ Low
105
EQ Mid
106
EQ Hi
107
EQ Level
Wah
108
Wah Mode
109
Wah Bite
Distortion
110
Distortion Type
111
Distortion Drive
112
Distortion Tone
Click Levels
113
Click On Level
114
Click Off Level
User Manual
Version 1
65
8
MIDI Controller Assignments
Controller Number MIDI Mode 0: Parameter Name
Balance
115
Main Volume
116
Lower Volume
117
Pedal Volume
Rotor Fast Rate
118
Rotor Fast Rate
Only the controller assignments 80 to 82 differ, when MIDI
Mode is set to 1. This setting matches the controller mapping of
Hammond XB-series organs. The other controllers remain as
described above. Switch MIDI Data Reduction off while
recording these data from an XB-Series organ (Options > Song
Settings > Recording Settings).
Controller Number MIDI Mode 1 Drawbar Assignment
80
All Upper Drawbars
81
All Lower Drawbars
82
Pedal Drawbars, Scanner Vibrato, Bass Filter
66
Emagic
EVB 3
9 Factory Settings
Evil Ways
Black Magic
Winwood heavy
Winwood clean
Whiter Shde
Tenderness
Rock Church
Grunge Organ
Deep & Purple
Might j.t.y. Life
Keep on Movin
Smoke on the Water
Fireball
Child in Time
Hallelujah
Hush
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Tremolo + Chorale
Chorale + Tremolo
Brake + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Brake
Brake
Brake + Chorale
Chorale + Tremolo
Chorale + Tremolo
Rotor Speed
Solo, Chord-Riff
Intro-Solo, Chords
Riff, Chords
Chords, Riff
Intro-Solo, Chords
Brake + Tremolo + Chorale Chords
Chorale
Chords, Solo
Chords
Solo, Chords
Chords (Rock style)
Intro-Riff
Chords
Chord-Riff
Solo
Intro Solo, Chords
Fills
Solo and Fills
Upper Manual
Chords
Chords
Chords
Chords
Chords
Bass, Chords
Chords
Chords (5th)
Bass, Chords
Chords
add. Chords
Chords
Groove Riff
Lower Manual
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Chord + Rhythm Wheel
Chords
Wheel
Bass Line, Chords Wheel
Chords, Bass
Wheel CC#4
Wheel
Wheel
Wheel
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Rotor
Control Morph Wah
Type Setting Name
Jingo (Morph)
67
User Manual
Version 1
H
9
Factory Settings
Rock Organs
9
Factory Settings
THE Doors 3
THE Doors 2
THE Doors 1
Little Help
Let it B-Preston
It's NICE
Emserson in Concert
Ekseption 2
Ekseption 1
Animals
Steppenwolf
Samba Pa Ti (Morph)
Oye como va
Chorale + Tremolo
Tremolo + Chorale
Brake
Brake
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Brake
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Rotor Speed
Chords, Chord-Riff
Solo, Chords
Solo, Chords
Solo, Chords
Chords
Solo, Chords
Solo, Chords
Solo, Chords
Solo, Chords
Solo, Chords
Chords, Solo
Chords + Solo
Chords
Intro-Riff, Chords
Upper Manual
Chords
Chords
Chords
Chords
Chords
Chords
Chords, Bass
Chords, Bass
Chords, Bass
Chords, Bass
Chords
Chords
Chords
Chords
Lower Manual
Wheel
Wheel
–
–
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
–
–
–
–
–
–
–
–
–
–
–
–
–
Wheel CC#4
Wheel CC#4
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Rotor
Control Morph Wah
Type Setting Name
TOTO (Morph)
–
Rock Organs (cont.)
–
Wheel
–
Wheel
–
Chords
–
Chords
Wheel
Tremolo + Brake + Chorale Melodie, Chords
Wheel
Tremolo + Brake + Chorale Chords, Melodie
Chords
Raggae 1
Chords
Raggae 2
Chord-Riffs
–
–
Melodie, Chords
–
–
Chorale + Tremolo
–
Wheel
Chorale + Tremolo
Chords
Chords
GC-Station
Riff, Bass
Tremolo + Brake + Chorale Chords, Melodie
Early Bird
Brake
Raggae 3
House Organ
Emagic
EVB 3
68
Pop Organs
Type Setting Name
Rotor Speed
Upper Manual
Lower Manual
Wheel
Rotor
Control Morph Wah
Wheel
–
–
–
Chords
Chords
–
Bass, Riff
Bass, Riff
Chorale + Brake
Chorale + Brake
House Bass
–
Sub-Bass Organ
–
–
–
Wheel CC#4
–
–
–
–
Wheel
Melody, Chords
Tremolo + Chorale + Brake Melody
–
–
Wheel
Chorale + Tremolo
Chords-Riff
Wheel
–
–
Chords
Limbo Dance
Chords
Wheel
–
Chords, Bass
Time is tight
Chords, Melody
Chords
Wheel
–
–
Melody
Chords
Wheel
–
–
Chord-Riff, Chords
Chords
Wheel
–
–
Chord-Melody
Brake + Tremolo + Chorale Melody
Chorale + Tremolo
Chords, Melodie
Chords
–
–
Latin Rock
Brake
Chords
Chords
–
Wheel
HipHug
Tremolo
Good Vibrations (Morph) Tremolo + Chorale
California Girls
Chorale + Tremolo
Chords, Chord-Riff
Wheel
Wheel
Surfin' USA
Chorale + Tremolo
Chord-Riff, Chords
Wheel
Chords
God Bless
Brake
Bass, Chords
Chords
Hi-De-Ho
Tremolo
Bass, Chords
–
Love you more
Solo, Chords
Brake + Tremolo + Chorale Solo, Chords
–
–
–
–
More&More
Chorale + Tremolo
–
–
Very Happy
Wheel CC#4
–
Back to Oakland
Wheel CC#4
Wheel CC#4
Bass, Chords
Wheel
Bass, Chords
Bass, Chords
Solo, Chords
Bass, Chords
Chord-Riff
Solo, Chords
Chorale + Tremolo
Solo, Chords
Chorale + Tremolo
Chorale + Tremolo
Chester-T (Morph)
Chorale + Tremolo
Horses (Morph)
Squib Cakes
–
ToP C. Thompson
69
User Manual
Version 1
H
9
Factory Settings
Pop Organs (cont.)
9
Factory Settings
J. Smith 2
J. Smith 1
J. McGriff
B. Auger 3
B. Auger 2
B. Auger 1
Cathedral (full)
Cathedral (soft)
Diapason
Strings
Flutes
Reeds
Tremolo + Chorale
Brake + Tremolo
Chorale + Tremolo
Brake + Tremolo
Brake + Tremolo
Brake
Brake
Brake
Brake
Brake
Brake
Brake
Brake
Brake
Rotor Speed
Solo
Solo
Solo
Solo
Solo
Solo
Solo
Melody, Chords
Melody, Chords
Melody, Chords
Melody, Chords
Melody, Chords
Melody, Chords
Upper Manual
Bass, Chords
Full Chord Melody Style Bass, Chords
Solo
Bass, Chords
Bass, Chords
Bass, Chords
Bass, Chords
Bass, Chords
Chords, Bass
Chords, Bass
Chords, Bass
Melody, Chords
Melody, Chords
Melody, Chords
Melody, Chords
Melody, Chords
Melody, Chords
Lower Manual
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
Wheel
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
–
Rotor
Control Morph Wah
J. Smith 3
Solo
Type Setting Name
J. Smith (soft)
Brake + Tremolo
Pipe Organs
–
Brake
–
Jazzy 1
Wheel
Jazzy 2
Wheel CC#4
–
Bass, Chords
–
Bass, Chords
Wheel
Solo
Bass, Chords
Full Chord Style
Solo
Tremolo
Chorale + Tremolo
Tremolo + Chorale
Wheel
Jazzy 3
Old Style Jazz
Bass, Chords
–
Jackie Davis (Morph)
Solo, Full Chord Style
–
Chorale + Tremolo
–
Merl Saunders (Morph)
Emagic
EVB 3
70
Jazz Organs
Gater (soft)
Gater (clean)
Marimborgan
Toy Bell Organ
Whl-Wah Clean
Morphing Celestra
Morph (heavy)
Morph All
Morph Odd-Even
Morph Even
Dist. Organ Whl-Wah
Perc Blues
Soul Morph
Soul Organ 2
Soul Organ 1
J.B's
Percy Sledge
Gospel (clean) Morph
Gospel (growl)
Blues Organ (Morph)
Billy Preston
Tremolo
Chorale + Tremolo
Brake
Brake
Brake
Brake
Tremolo
Chorale
Tremolo
Tremolo
Tremolo
Brake
Chorale + Tremolo
Chorale + Tremolo
Chorale + Tremolo
Tremolo + Chorale
Chorale + Tremolo
Brake + Chorale
Tremolo + Chorale
Tremolo + Chorale
Chorale + Tremolo
Tremolo + Chorale
Rotor Speed
Melody
Chords
Chords
Chords
Arpeggios Chords
2 Voice Melody
Chords
Chord, Arps, Solo
5th Chords
Chords
Chords
Chords
Chords, Leads
Solo, Chords
Lead, Chords
Chords, Leads
Riff, Fills
Chords, Solo
Leads, Chords
Chords, Leads
Chords, Leads
Chords, Riffs
Full Chords
Upper Manual
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords, Bass
Chords
Chords
Bass, Chords
Chords, Bass
Chords
Chords
Bass, Chords
Chords
Chords
Lower Manual
Wheel
Wheel
Wheel
Wheel
–
–
–
–
–
–
–
–
–
Wheel
Wheel
Wheel
Wheel
–
–
–
–
Wheel
Wheel
Wheel
Wheel
Wheel
–
–
–
–
–
–
Wheel CC#4
Wheel
–
Wheel CC#4
Wheel
–
Wheel CC#4
Wheel
–
–
–
–
–
–
–
–
–
–
–
–
–
Wheel
–
–
–
–
–
–
–
–
–
–
Rotor
Control Morph Wah
–
–
Gater (rough)
Chorale + Tremolo
Type Setting Name
Lovely Perc
71
Gospel, Soul & Blues
User Manual
Version 1
H
9
Factory Settings
Effects Organs
9
Factory Settings
FarFeeeza
Cheesy Organs
Vox Conti Whl-Wah
Vox Conti Leslie
Vox Conti 2
Vox Conti 1
Wunderlich 2
Wunderlich 1
Theater inharm.
Theater + 3rd
Piano Organ
Long Release Celeste
Celeste +2nd
Brake + Tremolo
Chorale + Tremolo
Brake
Brake
Brake
Tremolo
Brake
Brake
Tremolo + Brake
Brake
Brake + Tremolo
Brake + Tremolo
Brake
Tremolo
Brake + Tremolo
Rotor Speed
Solo, Chords
Solo, Chords
Chords, Lead
Chords
Riffs, Leads
Riffs, Chords
Chords
Chords, Lead
Lead, Riffs
Melody
Melody
Chord-Melody
Melody
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Chords
Melody, Chords
Chords, Melody
Wheel
Wheel
×
Wheel
–
Wheel
–
–
Wheel
–
Chords, Melody Wheel
Chords
Wheel
Wheel
Wheel
–
Melody, Chord-Melody Chords, Melody Wheel
Upper Manual
Chords
Melody, Chord-Melody Chords
Melody
Bass, Chords
–
–
–
–
–
–
–
–
–
–
Wheel
–
–
–
–
–
–
–
–
–
–
Wheel
–
–
–
–
–
–
–
–
–
–
Rotor
Control Morph Wah
M-100
Chorale + Tremolo
Lower Manual
L-100
Type Setting Name
Old Tubes B3
Theatre Organs
Emagic
EVB 3
72
Vintage Organs
H
Index
A
Leslie . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Link . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Acc/Dec Scale . . . . . . . . . . . . . . . . . . . . . 50
Additive Synthesis . . . . . . . . . . . . . . . . . . 56
Automation . . . . . . . . . . . . . . . . . . . . . . . . 23
B
Bass Filter . . . . . . . . . . . . . . . . . . . . . . . . . 37
Brake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
C
Cancel Key . . . . . . . . . . . . . . . . . . . . . . . . 34
Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Controls view . . . . . . . . . . . . . . . . . . . . . . 20
M
Max Wheels . . . . . . . . . . . . . . . . . . . . . . . 36
Mic Angle . . . . . . . . . . . . . . . . . . . . . . . . . 51
Mic Distance . . . . . . . . . . . . . . . . . . . . . . 51
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
MIDI Preset Switching . . . . . . . . . . . . . . 34
Motor Control . . . . . . . . . . . . . . . . . . . . . 51
O
Only B . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Optimization programs . . . . . . . . . . . . . . 19
P
D
DiskExpress II . . . . . . . . . . . . . . . . . . . . . 19
Distortion . . . . . . . . . . . . . . . . . . . . . . . . . 47
Drawbar . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Drawbar Leak . . . . . . . . . . . . . . . . . . . . . 38
E
Editor view . . . . . . . . . . . . . . . . . . . . . . . . 20
Effect Chain . . . . . . . . . . . . . . . . . . . . . . . 43
Effects Bypass . . . . . . . . . . . . . . . . . . . . . 44
Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . 44
Expression . . . . . . . . . . . . . . . . . . . . . . . . 30
F
Paradise . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Percussion . . . . . . . . . . . . . . . . . . . . . . . . . 32
pitch bender . . . . . . . . . . . . . . . . . . . . . . . 42
Plug-in
changing ~ display . . . . . . . . . . . . . 22
reassigning ~ windows . . . . . . . . . . 21
Plug-in Window . . . . . . . . . . . . . . . . . . . . 20
R
Random FM . . . . . . . . . . . . . . . . . . . . . . . 38
residual effect . . . . . . . . . . . . . . . . . . . . . . 58
Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
rotor cabinet . . . . . . . . . . . . . . . . . . . . . . . 48
Rotor Fast Rate . . . . . . . . . . . . . . . . . . . . 50
Filter Age . . . . . . . . . . . . . . . . . . . . . . . . . 39
S
H
Scanner Vibrato . . . . . . . . . . . . . . . . . . . . 31
Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Smart Mode . . . . . . . . . . . . . . . . . . . . . . . 42
Speed Control . . . . . . . . . . . . . . . . . . . . . 49
Speed Disk . . . . . . . . . . . . . . . . . . . . . . . . 19
Stretch . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Hotline . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
K
Keyboard Split . . . . . . . . . . . . . . . . . . . . . 25
T
L
Leakage . . . . . . . . . . . . . . . . . . . . . . . . . . 38
User Manual
Version 1
Tonal Balance . . . . . . . . . . . . . . . . . . . . . . 36
Tune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
73
Index
U
Ultra Bass . . . . . . . . . . . . . . . . . . . . . . . . . 37
Update Service . . . . . . . . . . . . . . . . . . . . . 11
V
Volume Control . . . . . . . . . . . . . . . . . . . . 30
W
Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Warmth . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
X
XSKey . . . . . . . . . . . . . . . . . . . . . . . . . 12, 16
74
Emagic
EVB 3